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Wortman R. Visual Texts, Ceremonial Texts, Texts of Exploration: Collected Articles on the Representation of Russian Monarchy / Boston: Academic Studies Press, 2014. XXIV, 442 p.

In 2014, a new collection of selected articles by the American historian Richard Wortman, a researcher of public legal consciousness and ways of representing power in the Russian Empire, was published. If the previous collection - "The Russian Monarchy: Representation and Government" - was devoted to the role of the symbolic in political culture, then in the peer-reviewed publication - "Visual Texts, Ceremonial Texts, Travel Notes: Selected Articles on the Representation of the Russian Monarchy" - the main unifying factor was visual interpretation of imperial practices, be it a ceremonial procession, a coronation album, a geographical description or a monument of architecture. The structure of the book also corresponds to the stated theme - immediately after the table of contents is a detailed list of illustrations, which are not just a visual aid, but an independent and very diverse source for study. Another criterion for selecting materials is their connection with the Slavic-Baltic Department of the New York Public Library, whose staff members are addressed with kind words of dedication.

The collection is divided into five thematic blocks, each of which reveals a new facet of visual history and contains such key concepts as "ceremony", "art", "space", "idea", "method". Some of the presented materials were published earlier in Russian editions or in Russian. Those who closely follow the author's publications will be interested to get acquainted with the articles of the last five years - the results of speeches at various conferences and seminars. In general, the publication is a fascinating story about more than fifty years of Wortman's research path and his recent discoveries.

The collection is based on three blocks dedicated to ceremonial practices and imperial myth-making. The first of these deals with ceremonies and ceremonial texts, allowing readers to get to know Wortman's creative laboratory and speculate about its effectiveness. The studies presented in this block were further embodied in one form or another in the later book Scenarios of Power: Myths and Ceremonies of the Russian Monarchy. The first article, co-authored with E. Kazints, head of the Slavic-Baltic department of the New York Public Library, proposes a classification of the most valuable sources on the history of the Russian monarchy stored in this department and in other US collections - coronation albums. The practice of publishing such albums was introduced under Peter I during the celebration of the coronation of his wife Catherine I and continued throughout the 18th-19th centuries. From board to board, repeating the general idea of ​​capturing the most important celebration, the albums underwent significant changes, both in appearance and in content. After analyzing in detail the materials of the coronation albums and paying special attention to the visual components, Worthman put forward a hypothesis about the intentional creation of a dominant image of the monarchy, characteristic of each ruler, on the basis of which the concept of “power scenarios” subsequently appeared.

This is just one example of the implications of Wortman's work for Russian historiography. Without being able to consider each of them in detail, it is still worth noting two fundamentally important points. The first, undoubtedly positive, is the active appeal of Russian scientists to archival materials in response to the concept of “power scenarios” proposed by Wortman. The second, more controversial, which reviewers have repeatedly pointed out, is the appearance of a ready-made script as if from nowhere: “According to the book, it turns out that at each of the turns of his reign, the autocrat appears, like Athena, fully armed with a ready-made script ...” The latter is just directly connected with the need for a more thorough study of the organizational and preparatory stage of the ceremonies and the prehistory of the emergence of sources of representation. The same idea is suggested by the ambiguity of the word "scenario". It can mean both the end result and the original intent. Ideally, they should match, but in practice this is not always the case. Wortman himself defines the term as "a description of individual ways of presenting the imperial myth".

The second block of articles has much in common with the first. Developing the concept of "scenarios" and reinforcing it with the concept duplication effect, described by Louis Marin, Wortman convincingly shows how the ideas of this or that ruler about power were embodied in works of art and architecture: from the musical innovations of Catherine II, which consisted in instilling etiquette through music, to the “national opera” of Nicholas I; from the patriotic glorification of the Patriotic War of 1812 to the popular prints, seeking to give the victories of Alexander I and the subsequent state reforms of Alexander II a "people's" character. The theme of "folk" in relation to the Russian imperial reality is repeatedly and in detail analyzed by the author. And where the quote from K.M. Fofanova: “Ah, the wisdom of being is economical: everything new in it is sewn from junk,” Wortman introduces the concept of “invention of tradition.” In his opinion, such an “invention” was also inherent in the architectural experiments of the times of Nicholas I, when the search for a “national style” led to the emergence of a “classic combination” of Byzantine designs with purely Russian decorative elements, which received the highest approval and the name “Tone style” . It is noteworthy that Alexander III, the grandson of Nicholas I, who gravitated even more towards everything “folk”, was not satisfied with his grandfather’s decision. And although no one officially canceled the Russian-Byzantine style, the continuation of the search was the “invention” of the “Russian style”, which was exemplified by the Yaroslavl and Rostov-Suzdal church architecture of the 17th century. Worthman makes an interesting comparison with similar attempts by the British colonial authorities to create a national "renaissance style" in India in the second half of the 19th century, but admits that the Russian version was much better understood and accepted. The idea of ​​​​Alexander III to build colorful, as if fabulous, but at the same time comfortable and spacious churches, was willingly supported by both nobles and merchants. Worthman notes that the emergence of such churches was like acts of " visual provocation”, challenging the order and restraint of neoclassicism and even subsequent eclecticism (p. 218).

In the same section, we touch upon a topic about the visualization of historical memory that is promising for study. Worthman refers to " visual patriotism"War of 1812 and its interpretation in the light of subsequent military failures. Attempts to build " visual history» are also traced on the example of the project by A.N. Olenin, carried out by F.G. Solntsev with the direct support of Emperor Nicholas I and which consisted in the publication of a richly illustrated scientific work "Antiquities of the Russian State". The section ends with an article about St. Petersburg in the life of P.I. Tchaikovsky. In it, the American researcher manages to masterfully show the mutual influence and interpenetration of personal experiences, creative searches and a sense of the urban environment, the space of power. Capturing the spirit of imperial Petersburg, Tchaikovsky strives in his music to convey a unique trinity: a mystical atmosphere, power and omnipresent sadness.

Wortman's work is characterized not only by the study of individual works of art and architecture in terms of their visual image, art historical value or historical interconnectedness, he considers them as systems of signs and as objects whose meanings can be read, thereby obtaining ideas about the era, its rulers and specific features. The author applies these hermeneutic devices to other sources as well. In the block of articles about the “Russian Columbuses”, he not only describes the fate of famous Russian travelers and their discoveries (G.I. Shelikhov, G.A. Sarychev, I.F. Kruzenshtern, V.M. Golovnin, G.I. Nevelskoy and etc.), but poses a more difficult task - to trace the mutual influence of their personal aspirations, searches, ideas and interests of the state. Highlighting several stages of geographic research based on the notes of travelers, Worthman dwells in detail on visual conquest of Russia(J. Craycraft's term), directly related to the beginning of the formation of "territorial self-awareness" (W. Sunderland's term) among Russians, mainly among the Russian elite. And in the end, he comes to the disappointing conclusion that the "exploratory spirit" is being replaced by an undisguised striving for conquest (pp. 255-256, 294). The impetus for writing these articles was the holding in 2003 at the New York Public Library of the exhibition "Russia Enters the World, 1453-1825." ("Russia Engages the World, 1453-1825").

Worthman's wide erudition allows him to compare phenomena from different countries and eras with Russian ones, drawing fascinating parallels and introducing the history of the Russian Empire into the global context. So, he searches for the origins of cultural symbolism in Rome and Byzantium, while in political symbolism he sees something in common with the mythology of the Polynesian kings. However, comparisons with Europe often come down only to those borrowings that Russia has made from Western countries and adapted in its own way to its own conditions, somewhere more, somewhere less successfully. Wortman singles out one, predominantly "external" aspect of a given phenomenon, paying less attention to "internal" impulses or contradictions. In his desire to develop a new architectural "national" style, Nicholas I, according to Wortman, was guided solely by the ideas of an enlightened European monarch. The article does not mention that until the 1830s. “official” classicism dominated, which became so boring to the townsfolk that for a long time it was the subject of constant ridicule. Obviously, noticing such trends, Nicholas I, who loved order in everything and did not want any liberties, decided to take the development of the “new style” under his control. This was facilitated by the fact that the construction of the central part of St. Petersburg was almost completed and new projects could not radically change the already formed image of the imperial capital. In addition, most of them were implemented in Moscow (reconstruction of the Terem Palace, construction of the Grand Kremlin Palace, etc.). Another example: Worthman explains the emerging interest in geographical discoveries by Russia's desire to join the ranks of the enlightened countries of Western Europe. Allegedly, only with the adoption of the title of emperor by Peter I in 1721 did Russia begin to emerge from oblivion, which led to the development of education, sciences, etc., and, in particular, the opportunity to participate in the European project of geographical discoveries appeared. Is it worth it in this case to ignore other, “internal” reasons that were guided by the same Stroganov merchants who sent Yermak to “conquer Siberia” back in the 80s? 16th century?

The fourth block ("Intellectual History") presents Wortman's earlier research on the history of socio-political thought and psychohistory that preceded the visual turn. However, if desired, the visual can also be found here - in the form of "pictures of the world" or personal impressions conveyed with the help of written sources: the author interprets the images created by the power of creative thought. The first article traces the evolution of the worldview of the liberal figures of Slavophilism (A.I. Koshelev, Yu.F. Samarin, V.A. Cherkassky), who sought to take an active part in the cause of the “great reforms”, but became entangled in their own contradictions and failed to to form a single group that could defend common interests. Their correspondence is clear evidence of how aspirations can not match the results and how hard it is to be disappointed in the ideals of youth. At the intersection of understanding European and Russian values, there is another noteworthy article by Worthman - on ignoring the legal interests of the individual in the Russian Empire. Having studied the programs of political parties and movements at the turn of the 19th-20th centuries, the author comes to the conclusion that the European “natural right” of property does not find expression in Russian political documents, even in those that proposed leading Russia along a radically new path of historical development. When asked whether it is possible to secure civil rights without relying on a previous tradition of respect for the right to property, Wortman gives a rather negative answer (p. 352). In another article from this block, L.N. Tolstoy - the expression of a personal crisis through a literary work is considered. In the described "life scenes" of the poor from Tolstoy's treatise "What do we need to do?" - not only a reflection of the sad reality, to which most of the rich simply turn a blind eye, but also the count's introspection, his own existential and emotional experience. Tolstoy is convinced that his repeated attempts to change the situation by helping the poor do not give positive results, but only meet with misunderstanding and even rejection. Such a negative result, combined with a feeling of helplessness that has a gender connotation (Wortman believes that it was women, as defenseless victims of society, that awakened feelings of helplessness and admiration in Tolstoy at the same time, since the count is looking for a guarantee of saving the world in the power of female love), leads to reasoning about moral disease of society and calls to start changing the world with yourself.

In these last articles, Wortman appears as a subtle psychologist, able to unwind the threads of human thoughts and destinies on the basis of sources. And this is very important for understanding the logic of his research. It was with reflections on the transformation of ideas into systemic ideas about the world that the professional career of an American historian began. Then there was interest in the ways in which these ideas were understood and could have an impact. Details of Worthman's creative path are presented in the final, fifth block of articles: how and when did the researcher turn to the problems of Russian studies, who were his first teachers (E. Fox, L. Heimson, P.A. Zaionchkovsky), how and in connection with what scientific interests were transformed, what methodological techniques were used at different stages, where the idea of ​​“power scenarios” came from, and much more.

Familiarity with Wortman's biography is necessary to understand his historical concepts, their possibilities and limits of applicability. “There is no doubt,” wrote the correspondent of “Northern Bee” on the eve of the coronation of Alexander II, “that foreign editors will skillfully and eloquently describe what they [foreign correspondents] see. — S.L.] celebrations, but will they understand their meaning? Will the popular feeling be comprehended? It is permissible to doubt this." In my opinion, just the fact that Wortman began his study of the representation of power in the Russian Empire not from scratch, but after many years of conscientious study of the history of legal consciousness and socio-political thought, allowed him to largely succeed in this field. He operates with such concepts as the idea of ​​“Russianness” (“Russianness”), “delight of citizenship” (“rapture of submission”), “solemnity” (“solemn festivity”), in their original meaning, taking into account national specifics. But at the same time, the scientist sets himself certain limits, which, for various reasons, he tries not to go beyond. As already noted, he practically does not affect the difficult and full of contradictions, the preparatory stage of imperial celebrations or the appearance of monuments of art and architecture, taking as an axiom a successful representation (what the ruler intended is what he got), and also deliberately limits the study of the influence of the "theater of power" on different segments of the population, implying that "political performances" were staged by the forces of the elites and for the elites, remaining inaccessible to the understanding of the common people. It is difficult to agree with this, especially when studying the representation of power in the second half of the 19th and early 20th centuries. And in the works of Worthman, in addition to his will, the breadth of the influence of imperial "performances" throughout the country is clearly visible.

In more detail in the last section, Wortman dwells on his acquaintance with the traditions of the Moscow-Tartu semiotic school, whose influence on most of his works of the later period is obvious. Separate articles are devoted to the impressions of V. Nabokov's lectures at Cornell University; in memory of M. Raev (1923-2008), a colleague and senior comrade of Worthman, and in the memory of his supervisor L. Heimson (1927-2010). Raev and Khaimson were outstanding scientists who developed in the middle of the 20th century. new directions in the study of Russian studies, such as the history of the Russian bureaucracy, the psychology of the Russian nobility, intellectual and social history, the history of the culture of post-revolutionary emigration. As Wortman notes, they were hardworking, responsible, creative scientists, and it was they who laid the foundations for a Westernized approach to the study of post-Petrine Russia.

Worthman took a lot from his teachers and from the ideas of the Moscow-Tartu school, which is confirmed by the studies of different years presented in the collection. At the same time, the scientist went his own way and built a concept of understanding the history of Russia through the prism of myth-making, basing this approach on the fact that the representation of the monarch in Russian conditions prevailed over the power of lawmaking and represented a “heroization of a higher order” (p. XVII). Each of his articles is a mini-research aimed at confirming the general concept, and at the same time illustrating one or another approach that contributes to the disclosure of historical realities through images, texts, ceremonies and other narratives in the broadest sense of the word. As for the visual sources that formed the basis of Wortman's work on the history of representation, they have been an integral part of the understanding of imperial practices for many years, and their abundance remains the key to the emergence of new research projects and methodological developments.

Cm.: Wortman R.S. The Crisis of Russian Populism. Cambridge, 1967; Idem. The Development of a Russian Legal Consciousness. Chicago, 1976 (Russian translation: Worthman R.S. Rulers and Judges: The Development of Legal Consciousness in Imperial Russia. M., 2004); Idem. Scenarios of Power: Myth and Ceremony in Russian Monarchy. 2 vols. Princeton, 1995-2000 (Russian translation: Worthman R.S. Scenarios of power: Myths and ceremonies of the Russian monarchy: In 2 vols. M., 2004). Nemiro O.V. Festive city. Holiday decoration art. History and modernity. L., 1987; He is. From the history of organizing and decorating the largest celebrations of the Romanov House: 1896 and 1913 // Historical experience of the Russian people and the present: Interuniversity scientific program. Book. 2. St. Petersburg, 1995, pp. 252-260; He is. From the history of the celebration of the 100th anniversary and the 200th anniversary of the founding of St. Petersburg // Petersburg Readings - 96. St. Petersburg, 1996. P. 429-433; Poly-shuk N.S. At the origins of Soviet holidays // Soviet ethnography. 1987. No. 6. S. 3-15.

See for example: Markova N.K. On the history of the creation of the coronation album of Empress Elizabeth Petrovna // Tretyakov Gallery. 2011. No. 1 (30). pp. 5-21; Tunkina I.V. A unique monument of Russian history — The coronation album of Empress Elizabeth Petrovna // Bulletin of History, Literature, Art. M., 2005. T. 1. S. 434-446.

Cm.: Slyunkova I.N. Emperor Imyarek in Russian lubok and failure with the coronation album of Nicholas II // Slyunkova I.N. Projects for decorating coronation celebrations in Russia in the 19th century. M., 2013. S. 347-366.

For details see: Alekseeva M.A. Images of coronation and funeral ceremonies of the 18th century. Published and unpublished albums // Auxiliary historical disciplines. SPb., 1998. T. 26. S. 232-240.

Cm.: Nemshilova A.E. Russian coronation albums: to the formulation of the research problem // Book Studies: New Names. M., 1999; Stetskevich E.S. The first imperial coronation album in Russia: on the history of creation // Academy of Sciences in the context of historical and scientific research in the 18th - first half of the 20th centuries. SPb., 2016. S. 56-71.

Dolbilov M.D. Rec. on the book: Worthman R.S. power scenarios. Princeton, New Jersey, 1995. Vol. 1 // Domestic History. 1998. No. 6. P. 180. See also: Semenov BUT."Marginal Notes" of R. Worthman's book "Scenarios of Power: Myth and Ceremony in the History of the Russian Monarchy" // Ab Imperio. 2000. No. 2. S. 293-298; Andreev YES. Reflections of an American Historian on the "Scenarios of Power" in Tsarist Russia // Questions of History. 2003. No. 10. P. 96-116; Knyzhova Z.Z. Interpretational possibilities and shortcomings of the "Wortman method" in the study of presentational practices of Russian political power // Bulletin of the Saratov University. 2009. Vol. 9. Ser. "Sociology. Political science". Issue. 4. S. 122-125.

For more on terminological and other discussions, see: “How History Is Made”: (Discussion of R. Wortman’s book “Scenarios of Power. Myths and Ceremonies of the Russian Monarchy.” Vol. 1. M., 2002) // UFO. 2002. No. 56. S. 42-66.

See the Russian version of the article: Worthman R.S."The voice of the people": a visual representation of the Russian monarchy in the era of emancipation // Petr Andreevich Zaionchkovsky: Sat. articles and memoirs for the centenary of the historian. M., 2008. S. 429-450.

For details see: Wortman R. The invention of tradition in the representation of the Russian monarchy // UFO. 2002. No. 4. S. 32-42.

See the Russian version of one of them: Worthman R.S. Travel Notes and Russia's European Identity // Russian Empire: Stabilization Strategies and Experiences of Renewal. Voronezh, 2004, pp. 33-60.

It is interesting to compare the views of the American historian on the philosophical problem of the search for a “European identity” with the works of the Russian scientist N.I. Tsimbaev, who has been developing the theme of Slavophilism and Westernism for many decades. Cm.: Tsimbaev N.I. Slavophiles and Westernizers // Pages of the Past: Collection. M., 1991. S. 323-373; He is. Yuri Samarin - a man of reform // Historical Notes. M., 2012. Issue. 14(132). pp. 88-110; He is. Slavic-no-filst-vo: From the history of Russian socio-political thought of the 19th century. 2nd ed. M., 2013 (1st edition - 1986), etc.

“I remain convinced,” Worthman replies to opponents, “that the content and imagery of the scripts, their drama and genres were significant only for the elite.<...>The content of the scripts was inaccessible to the lower strata of the population, who were struck by any manifestation of splendor, luxury and pomposity ”(“ How History is Made ”, p. 60).

See Russian version: Worthman R.S. Remembrance of Vladimir Nabokov // Zvezda. 1999. No. 4. S. 156-157.

See also: Zeide A., Worthman R., Reimer S. et al. Mark Raev. 1923-2008. On the anniversary of death // New Journal: Literary and Artistic Journal of the Russian Diaspora. New York, 2009, No. 256, pp. 437-454.

pp. 28-42.

The sociological understanding of the image is constructed in such a way as to decipher the content of social meanings and meanings in their visual symbolism using hermeneutic and semiotic means. The method of understanding the image should be adequate to its subject, which is characterized, on the one hand, by display, on the other, by a meaningful message. Display is a reproduction of the given, but an arbitrary mechanism of representation can hide the ideological message, which gives duality to the image. Symbolically materialized representations are studied by sociology as part of the representational system, the interpretive order of society. The method of interpreting the image is built in accordance with the logic of the picture and can be similar to sequential analysis in objective hermeneutics.

The methodical approach to image analysis consists of three phases: descriptions visible data dividing them into structural elements in relationships and search text-image relationship values in a certain socio-historical context. Three phases of interpretation also correspond to this division of the phases of analysis: 1) description, verbal paraphrasing of textual and pictorial messages, 2) acrobic reconstruction, analysis of the meanings of the symbolic content of textual and pictorial materials, and 3) socio-cultural interpretation.

Razumovskaya T. A. Journal of Sociology and Social Anthropology. 2010. V. 13. No. 1. S. 205-211.

The article is an experience of considering the theoretical and methodological problems of visual anthropology on the material of the collection of articles Visual Anthropology: Adjusting Optics. The field of modern visual anthropology is analyzed, which includes the interpretation of visual artifacts as cultural phenomena, the analysis of the contexts of their production and use, as well as the study of social life using visual methods. Who owns the right to interpret the image - its creator or viewer? What do photographs and things allow people to speak about? The authors of the articles in this book discuss the existing rules, contexts and possibilities of applying visual methods in professional practice, encouraging critical reflection and ethical reflection, deconscribing the images of popular media discourse and working with memory and emotions, influencing reality and revising established conventions. Anthropologists, sociologists, culturologists, all those who are interested in the possibilities and principles of visual studies of culture and society.

Under scientific edited by F. Liechtenhan. P.: PUPS, 2011.

The collection of articles is devoted to the activities of the outstanding French historian E. Le Roy Ladurie. Various aspects of his multifaceted work are analyzed: historical anthropology, climate history, cliometry, economic history, history of the peasantry, visual anthropology, etc., as well as the peculiarities of the perception of his work by the scientific community of various countries.

The first attempts to use visual research methods in sociology and anthropology were associated with attempts to stop time, fix what was seen in memory, preserve the ephemeral and disappearing. The classical anthropologist, using visual means, was engaged in the study of peoples remote in space and time, culture, lifestyle of various communities. This most important task remains on the agenda to this day: visual anthropology, which is currently developing within the framework of the domestic ethnographic tradition, aims to study the audiovisual heritage of world and domestic ethnography, fixing the modern life of peoples, studying the visual forms of cultures and creating audiovisual archives. But the field of modern visual anthropology is expanding, today it is, on the one hand, the interpretation of visual artifacts as cultural phenomena, the analysis of the contexts of their production and use, and on the other hand, the study of social life using visual methods. Visual methods and sources play an increasingly significant role in science, education, and social practice. They pave new routes to understanding the past, constantly changing in the history of the definitions of social relations, ways of constructing and solving social problems. This book continues the visual analysis publishing initiative of the Center for Social Policy and Gender Studies and is one of three issues produced by the Visual Representations of Social Reality: Ideology and Everyday Life project supported by the John D. and Catherine T. MacArthur Foundation in 2008-2009 years.

In the article “Visual Anthropology of the Empire, or “Not Everyone Can See a Russian”,” the author describes the artistic projects of ethnic differentiation in Russia in the second half of the 18th century. The object of the study is samples of the costume genre of domestic graphics. Elena Vishlenkova explores A. Dalstein's album of engravings, drawings and sketches by expedition members, engravings by J. Leprince, an illustrated magazine by H. Roth and a study about the peoples of Russia by I. Georgi. Analyzing illustrations and drawings as a single visual text, the author establishes a connection between visual images, cultural outlook, artistic conventions, ethnographic knowledge of contemporaries, as well as the intentions of the supreme power to create an ideal subject for the empire. As a result, Elena Vishlenkova reveals the strategies of typification and generalization, which were used by draughtsmen, intending to show the peoples of Russia. The author believes that thanks to artistic commercial reproduction (tea utensils with ethnographic scenes in painting, sculptural miniatures, toys, popular prints and cheap engravings), these visual images entered the mass consciousness and became a means of identifying "real" Russians, Chuvashs, Finns, Kalmyks, etc. .d.

The situation of competition for a citizen is considered as a trend of modern society. The results of an empirical study of the invisible state identity, carried out using the methods of visual sociology, are presented.

M.: Variant, 2009.

The field of modern visual anthropology includes the interpretation of visual artifacts as cultural phenomena, the analysis of the contexts of their production and use, and the study of social life using visual methods. Who owns the right to interpret the image - its creator or viewer? What do photographs and things allow people to speak about? The authors of the book's articles discuss the existing rules, contexts and possibilities of applying visual methods in professional practice, encouraging critical reflection and ethical reflection, deconstructing images of popular media discourse and working with memory and emotions, influencing reality and revising established conventions. Anthropologists, sociologists, culturologists, all those who are interested in the possibilities and principles of visual studies of culture and society.

Yarskaya-Smirnova E. R., Vorona M. A., Karpova G. G. In the book: Visual Anthropology: Urban Memory Maps. M.: Variant, 2009. S. 294-309.

The American anthropologist Margaret Mead substantiates the typology of cultures depending on the method of continuity of generations - she calls a culture where this connection is very close, children learn from their ancestors and, growing up, completely repeat their life path; in a cofigurative culture, both children and adults learn from their peers, while in a prefigurative culture, adults learn from their offspring. The speed and content characteristics of growing up in most countries of the world have changed significantly over the past 150 years. Both childhood itself and the stages, stages of a person's life, and ways of cultural continuity have undergone a serious and rapid modification. And if the inevitability of intergenerational communication was the main postulate of Soviet childhood, along with the priority of labor education and the authority of adults, then by the late Soviet period these semantic codes had lost their former strength. The stage of cofigurative culture has come, and the new generations no longer orientate their life choices on the elders. This was due to the growth of the consumer society, the spread of urban cultural styles, which contributed to the loosening of the matrix of stable symbols and their meanings. Over the past two decades, the attitudes of Russians in general have changed very quickly and dramatically, including with regard to childhood. According to most Russians, “childhood” ends at the turn of 15-16 years old, after which “adulthood” begins, but the desire to grow up quickly today has become not a dominant feeling, as in the early nineties, but a subordinate feeling; the experience of children's happiness came first. So what happens - the duration of childhood is growing, or in other words, the psychological age of a modern person is decreasing? This happens, apparently, under certain conditions, and not at all. Our question in this article is precisely what is considered adult qualities, and what is considered childish, who gives these definitions and why. In an attempt to answer it, we decided to analyze the discourses and visual means that produce and modify the ideas of "childhood" and "childish adulthood".

M.: Variant, 2009.

"Urban Memory Maps" provide an opportunity for historical excursions and cognitive reconstruction of everyday experience. This book is a continuation of the visual analysis publishing initiative of the Center for Social Policy and Gender Studies. The authors turn to the study of the symbolic organization of urban space, using the methodology of mapping the urban environment, study the ways in which people perceive and master urban contexts, interpret representations in popular culture and discourses about urban travel, discussing the shape of cities that change under the influence of social and cultural politics. Looking closely at urban areas and worlds, researchers pay attention to the diverse universes of life styles, consider their social organization and cultural practices in the dynamics of global and local, in the context of constantly updated communication technologies. The publication is addressed to anthropologists, sociologists, culturologists, all those who are interested in the possibilities and principles of visual studies of culture and society.

Published with the support of the John D. and Catherine T. MacArthur Foundation

To researchers of different generations, the city seemed to be the epicenter of modernity, a place filled with stories of people's lives, the focus of social communications, where public and intimate are mixed, and time is subject to a single rhythm of high-speed public modes - transport, industrial, information. Urban anthropology studies these diverse meanings and practices, the social organization of small urban communities and larger institutional power structures, various types of social networks and forms of urban social life in cultural and historical contexts, social problems associated with crime, social unrest, inequality, homelessness. Urban visual anthropology is a step into the labyrinth of a living kaleidoscopic texture of social practices with deceptively familiar and ever-changing styles, possibilities and boundaries, their images that are conspicuous and hidden in the structure of consumption, in the status hierarchy of urban space. "Urban memory maps" provide the reader with the possibility of historical digressions and cognitive reconstruction of everyday experience in the study of the symbolic organization of urban space, the ways people perceive and master urban contexts, the outlines of cities that change under the influence of politics, using the methodology of mapping the urban environment, analysis of representations in popular culture and discourses about urban travel.

Semina M. V., Ganzha A. O. Journal of Sociology and Social Anthropology. 2008. Vol. XI. No. 2. S. 153-167.

The article is devoted to the methodological and methodological aspects of teaching visual sociology. The experience of two teachers from the State University-Higher School of Economics and the Faculty of Sociology of Moscow State University is summarized. Two different approaches to teaching visual sociology in these universities are given: the first is based on the combination of sociology and photography, the second is on the development of sociological imagination using the method of included visual observation.